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What Is ‘Burning Love’ & Why Is It Amazing?

Yahoo!
If you have been randomly surfing through the E! network’s schedule or searching for your favorite comedic actors, you may have stumbled upon Burning Love. This series has a bunch of A-list actors and a really irreverent spin on shows like The Bachelor and The Bachelorette. Not only is it shocking to see the likes of Adam Scott, Adam Brody, and Michael Cera in this relatively unknown show, but apparently the series started as a wildly popular web show that has featured Kristen Bell, Malin Ackerman, and Jennifer Aniston.
E! is currently airing the second season of The Bachelorette spoof. The State and Party Down alum Ken Marino directs this series and starred in the first season. The current season centers on Julie Gristlewhite (June Diane Raphael), the runner up from the prior season. Like The Bachelorette, Julie has a group of suitors vying for her affection. They include Ryan Hansen (Veronica Mars) as Blaze, the hot one, Joe Lo Truglio (Brooklyn Nine-Nine) as the single dad overly attached to his son, and Michael Cera, as the overly romantic guy. The cast also includes Adam Scott, Jerry O’Connell, Paul Scheer, Nick Kroll, and Colin Hanks.
It’s insane to see this many great actors in such a small show. There are also cameos by Ben Stiller, Rob Corddry, Rebecca Romijn, and Paul Rudd. This much comedic talent in one place allows for a lot of funny bits and insanely irreverent moments. It also doesn’t shy away from pointing out the stupidity of some of these marriage proposal shows. At times Julie is racist or easily fooled. The guys get overly competitive and all have the unique archetypes of the cast of the popular ABC reality series.
It’s great to see Lo Truglio reunite with his The State co-stars Michael Ian Black and Marino. Along the same lines, Marino starred in Party Down with Scott, Hansen, and Martin Starr.
The series is definitely worth catching for a laugh. The second season is currently airing on E! and the full three seasons are available for viewing on Yahoo. Check out the series trailer:
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Showtime
Where we left off: Brody is locked away in Venezuela and being watched over by a man named El Nino, El Nino's daughter, and a super creepy doctor, and Carrie is still trapped in a mental ward. Basically, they're meant for each other because their lives are so similar (rather, that's what the writers want us to think).
"Game On"In this episode, Dana acts like a horrible teenager (she helps her slightly-off-kilter boyfriend, who turns out to have murdered his brother, escape from the psych ward, and then recites poetry from memory while drinking champagne in a cemetery), Saul does a terrible job of explaining what's happening in CIA world, and Carrie is a double agent. Wait, what? Carrie is a double agent? That’s right, folks. It looks like we've been duped.
After an hour of watching Carrie frantically avoid the CIA (she even goes as far as sleeping with a guy to have a place to stay for the night), we find out that she and Saul have been working together on a mission. An Iranian man, Javadi, is apparently the culprit of the Langley attack, and Carrie's job was to lure him out of the shadows so she can have a face-to-face conversation with him via the lawyers that contacted her in the previous episode. When Homeland fails us, we can always count on one thing: Carrie being an awesome spy. Unfortunately, what is supposed to be the biggest move of the episode quickly turns into a vat of questions that have no answers.
How deep does this mission go? Did it start before she was put in the mental hospital, or did it happen sometime while she was there? If Carrie was in on the plan the whole time, why did she sleep with the man from the liquor store? Was it really just to make the whole thing convincing for the lawyers following her? Why was her phone call with Virgil being tapped by the CIA? Does the CIA not know what Saul is doing? If the CIA doesn't know what Saul is doing, then is Saul really on Carrie's side? And finally, why is Dana still the focus of this show? And where is Quinn?
The good news is that Carrie isn't actually willing to turn on the CIA and reveal all of its secrets to Javadi. The bad news is that Homeland has resorted to last-second reveals to keep us hooked. Yes, they may work for now, but how long are we going to watch a show that only becomes interesting in the last five minute?
Highlight of the episode: Carrie is finally released from the hospital. There's only so much more forced arts and crafts that we could have taken.
Upset of the episode: Last week's episode had us finally gripping our seats as we saw Brody for the first time in the season and watched him battle a bullet the to the gut, a captor named El Nino, and plenty of murder. One would reasonably think that signaled the return of Brody, but because Homeland never wants us to be happy or satisfied, it seems like they've decided to dangle the promise of Brody right above our reach. This episode had absolutely zero Brody, which might have been a bad move. Not only did it leave the audience anxiously wondering when the now bald Brody would appear on screen, but it left us feeling like there was something very big missing by the end of the episode.
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The movie may have been a blip in cinema history, drowned out by the noise of the drama unfolding around it off screen, but Mr. and Mrs. Smith deserves a closer look. Most people associate the movie with the biggest tabloid story of the 21st century, in which the man-eating Angelina Jolie stole Brad Pitt from America's sweetheart Jennifer Aniston, breaking up Hollywood's golden couple. For those of us who are actual fans (of which I'm sure there are dozens!), we see past all the gossip. To me, personally, it's also so much more than an action-comedy starring the world's most beautiful man and woman. When you look closely, Mr. and Mrs. Smith is actually a brilliant satire. Hear me out. Here are three reasons why it deserves to be remembered beyond Team Jolie and Team Aniston.
Satire on Suburban Life
There are so many great juxtapositions between the protagonists' secret assassin identities and their mundane suburban lives. The Smiths' shiny, deluxe, state-of-the-art kitchen appliances are used to house and hide shelves of Jane's (Jolie) shiny, deluxe, state-of-the-art deadly weapons. Jane uses her martial arts skills to balance precariously on a chair while fixing the curtains. John (Pitt) invites his neighbor Bob over for the first time in the midst of his fight death match with his wife, and they talk golf trophies as John scans the house for his assassin spouse. The Smiths escape their own assassins in the film's action-packed car chase scene in a minivan, taking advantage of the vehicle's functional features (an assassin hops into the van and John sends him flying out with the "handy" sliding door) and swerving and shooting out of it like it was Bond's Aston Martin.
A Refreshing Take on Being a Hitman
Besides satirizing suburban life in the most unique way I've seen in film, Mr. and Mrs. Smith is also a satire on assassinating as a corporate profession. Ben (Adam Brody) is a new hire, an entry-level assassin who acts as if he's a young hot shot at an advertising firm. After his first violent confrontation, he asks a senior colleague if they "get dental." When rival assassins are sent to take out the Smiths, John runs one over with his — what else? — minivan and quips, "F*ckers get younger every year." In one of the funniest exchanges between the married couple, John is curious to know Jane's "number" (in this case, her number of kills), and as he starts to humbly brag about his number being in the high 50s, low 60s, she blurts out "312." He's shocked, disgusted, and humiliated. Everybody loves a double entendre, right? And Pitt kills it with his subtle yet spot-on reaction.
Truly Worthy Adversaries
In most assassin/spy/secret agent movies, when the man (and it's always the man) reveals his true identity, the woman freaks out (she always freaks out). Not only does Jane not freak out, but she has a secret of her own to reveal — that she's actually a more successful version of her husband's secret identity. When the two ultimately fight each other to the death, the sequence is well-balanced, with each side getting in as many shots and hits, and full of humor, with "Who's your daddy" jokes sprinkled in. In a twisted way, their fight is the first time they make passionate physical contact as a couple. When John gives Jane the chance to kill him, she doesn't take it, and instead, decides to fight on her husband's side, the film's way of saying they're going to work on their marriage. We need more Jane Smiths in film — women who are strong, smart, and physically capable not out of vengeance or after some transformation, but just because.
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Reclusive funnyman Dave Chappelle is returning to the spotlight to headline a U.S. comedy tour with the Flight Of The Conchords duo. The cult comedian, who was once considered among the world's funniest people, abruptly walked away from his hit TV programme, Chappelle's Show, in 2005 and has kept a low profile ever since.
He made a handful of impromptu stand-up appearances in New York earlier this year (13), joining pals including Chris Rock and Kevin Hart at the famous Comedy Cellar venue, and now he has announced plans to hit the road for a 13-date trek.
The Oddball Comedy & Curiosity Tour, presented by Will Ferrell's Funny Or Die website, will also feature New Zealanders Brett McKenzie and Jemaine Clement, aka Flight of the Conchords, in addition to Al Madrigal, Brody Stevens and Demetri Martin, among others.
The shows will kick off in Austin, Texas on 23 August (13) and will touch down in New Jersey, Colorado, Arizona and Michigan before wrapping up in Mountain View, California on 20 September (13).

This week’s episode of Glee seems like it was made perfectly for Goldilocks — It was not too boring but not too thrilling. “Wonder-ful” had just enough NYC goodness to keep us intrigued but it also featured plenty of side-stories that messily seemed to be thrown in the mix because they ran out of time this season to truly highlight certain characters. It was a pretty bland bowl of porridge but the honey sweet news about Burt, the silky smooth Stevie Wonder songs and the spicy reappearance of the one-and-only Kate Hudson, gave this episode the tasty flavor it desperately needed. Read on for all the delicious details from “Wonder-ful” below!
So Here’s What You Missed On Glee
A Wonder-ful Week: The episode opens with an unexpectedly sweet phone call from Rachel to Mr. Schue and she excitedly wants to tell him something that she hasn’t even told Kurt, her dads or Finn yet: Rachel had her callback that morning and the roll for Fanny is now just between her and two other girls! Rachel tells her former teacher, “I just want you to know that if it does happen, it’s because of you.” (Side-Note: Oh em gee! This is so sweet I think I’m getting cavity.) Will is incredibly humbled by the fact that Rachel sang “Don’t Stop Believin’” for her audition song and tells Miss Berry that he could not be more proud of her and the fact that she’s following her dreams.
Over in the choir room Will is bursting with glee and good news as he shares Rachel’s success, reveals that Brittany has been accepted to MIT and is currently touring the campus and happily tells the group that he re-proposed to Emma and she re-accepted. They’re getting married after regionals! (Side-Note: All together Wemma fans… Squeeee! Who else is doing the Wemma wiggle happy dance around their apartment? Just me? Alrighty then!)
Will then tells the group that it’s time to regain in inner optimism because it’s Stevie Wonder week. (Side-Note: Pssssst! Did you glee-bees know that I was the very first person that learned about this episode? Yup! Ryan Murphy told me all about it a few months ago and I was the lucky lady who got to share this "Wonder-ful" news to the world! Okay not-so-subtle brag over. Thanks for listening.)
In NYC we see that Kurt has been counting days off a calendar — and no it’s not the days until Smash is cancelled. In just two more days Burt gets his test results back and we’ll know if he’s officially cancer free. (Side-Note: I still can’t believe they’re putting Kurt and Burt through this. Pick on someone else’s parent!) The stress of not knowing his father’s fate has caused Kurt to embrace a few new OCD rituals into his daily routine — it’s his way of feeling a sense of control over his anxiety. So Kurt is off to Lima to attend Burt’s doctor’s appointment and in a flash we’re suddenly in the halls of McKinley. (Side-Note: Oh goodness! There’s a Klaine moment near! I can feel it, it’s close, it’s happening.)
Rolling in Lies: Over in the hallway A quick-witted Kitty stops Artie and confronts him as to why he’s been acting like such a Debbie Downer lately. Artie reveals that he has been accepted into his dream school of the Brooklyn Film Academy but he is not going to go but refuses to explain why. (Side-Note: Hmm… Color me curious! Okay, wait, no that was a lie. I honestly don’t care why Artie is refusing to go to his dream school but I feel bad that this is the biggest storyline he’s had all season so I’m going to pretend like I should give a hoot.)
Kurt is joined in McKinley by Mike and Mercedes in the choir room and all of the sudden the music starts to play and Kitty takes the lead singing an upbeat version of “Signed, Sealed, Delivered.” (Side-Note: I absolutely adore this song because it reminds me of one of my all-time favorite movies: Now and Then. God I wanted to be just like Teeny when I was little! Okay reminiscing over, back to Glee!) Kitty’s performance ends and she reveals that her song was for Artie to celebrate the fact that he was accepted into film school.
Mercedes says that the song was great but Kitty’s performance lacked ferocity. Kitty smiles and unleashes her verbal claws sarcastically saying, “Clearly we should be taking our advice from someone who came crawling back to Ohio after apparently having her LA dreams shattered.” Kurt quickly corrects Kitty boasting that Mercedes has an album coming out and she’s back in Lima to film a music video for it. Plus, apparently Mr. Schue asked Mercedes to be their new vocal coach and Mike to be their new dance coach to help prepare the kids for Regionals. Tina then promptly has another outburst about how life is unfair and #gleehatesgirls. (Side-Note: Dying from laughter right now. I don’t think Glee hates girls though Tina, sadly I think it’s just you. I still love you lots and lots though!)
Everyone in glee is really proud of Artie but he’s super duper pissed at Kitty because earlier he told her not to tell anyone. Whoops! She asks him what the big deal is and Artie reveals that his mom is freaking out about him moving to the Big Apple because NYC isn’t exactly wheelchair friendly. Kitty must have had a sugary breakfast this morning because she is all kinds of sweet and tells Artie that he would be amazing in film school and to not completely cross out the thought. (Side-Note: Oh okay so we’re totally dismissing the Catfishing storyline again? Awesome. Great. Cool. So we’re missing Santana, Brittany, Finn, Puck, and Emma and you’re still going to deny us the one thing from Lima that we really want? Also in all seriousness can someone please call Sugar and make sure she’s still alive?? I’m starting to panic here guys!)
Artie arrives home to see not one but two ladies waiting for him: his momma — the lovely Katey Sagal — and Kitty. Looks like Artie has been rolling around in a web of lies because his mom didn’t even know that he was accepted into film school. Kitty leaves so she can give Artie and his mom some time to talk but of course she couldn’t leave without calling him a wuss and then giving him on of those big-eyed death stares. (Side-Note: Wait, so why is it that Kitty is the one helping out Artie this week? Shouldn’t Glee have had Tina, help him and his mom come to their brilliant bonding moment? Yet again Tina — Artie’s ex-girlfriend and four year friend — has been pushed to the side and suddenly Kitty is everywhere.)
Artie’s mom confronts him about his lies and he quickly reveals the truth: “Because I’m afraid to go okay? I just thought it would be easier to blame it on you.” She tells her son that she is beyond confident that Artie will adapt and thrive in New York and there’s has to be a real reason as to why he’s hesitant to leave. Artie finally reveals the truth: “I don’t want to leave you alone, ever since the accident you’ve devoted every spare moment to me and it just seems selfish that the thanks I give is packing up an leaving.” She smiles and says that the thing that will make her happiest is seeing he son achieve his dreams. (Side-Note: And just like that, Artie wraps up the biggest moment he’s had all season)
NEXT: Divalicious Attitude and A Very Important Question
Fearless and Brave: Over in the auditorium, Mercedes takes charge of the New Directions and explains to them that the reason they lost Sectionals was because they were all too afraid. Mercedes encourages Marley to let go of her fear and embrace the high notes and daring vocal runs in her songs. The music starts and Mercedes shows off her divalicious bravery with a soulful rendition of “Superstitious.” After the performance Mercedes and Mike approach Jake and tell him that he’s a triple threat: he can sing, he can dance, and he’s sexy as hell. (Side-Note: Duh. We’ve known that all season) They invite Jake to star in Mercedes’ music video and also encourage him to take more a leadership role in the glee club, despite the fact that he’s only a sophomore.
Mike takes to the front of the choir room and says the he’d like to share a dance with one of the newest and most wonderful students in glee — the handsome Jake Puckerman. The music begins and Jake leads Mike in a smooth moves dance duet to “I Wish.” (Side-Note: In addition to admiring Jake’s incredible dance moves, I also kept thinking of the penguin from Happy Feet when he tapped dance to this song. Then I thought of Jake dancing alongside that penguin. Then I giggled so hard that I got the hiccups. And then I put my glass of wine down.)
Kurt and Mike go on a search to find Mercedes and find their upset friend in the auditorium yelling into her phone. As it turns out, Mercedes’ producer is not the nicest guy — he loves her voice, just not her look so now it looks like the album is being put on pause until she reshoots the photo for cover. Mercedes takes some time to discuss the issue with her momma and then comes back to McKinley to tell the group her decision. Mercedes stands in front of the glee club and tells the group that after a lot of thinking and soul-searching she decided that she does not want to compromise who she is to sell an album.
In a flash back we see that she told her producer, “It’s my voice Martin, those are my songs, they tell my story. I’m not going to spend all this time working on my truth and then have you slap something that doesn’t even represent the real me on the cover.” She tells the group that she broke off the record deal but she still has a record and she’ll be selling these CD’s everywhere she can. Mr. Schue tells Mercedes that he’s proud of her for taking the higher ground and just like that, Mercedes breaks into “Higher Ground.” (Side-Note: I’m sorry… what?! You seriously mean to tell me that Mercedes gave up a record contract because she refused to show a little shoulder on the album cover and then she strips off her jacket dances around the choir room in that lil spaghetti strap dress? Okay. Um.. you go girl?)
Remission and Permission: At the Lima Bean Blaine is all aflutter with excitement over the marriage equality news in New York and tells Kurt that he can’t wait to be there to see it all. Blaine also tells his ex-beau that he’s looking cute today and then he clarifies: “And I mean like dirty cute.” (Side-Note: Yes! Finally some Klaine interaction! Also, I have no idea what “dirty cute” is but the fact that Kurt rolled his eyes is making me think that he didn’t like that confusing compliment. Dammit! Pull yourself together Blaine.) Kurt, Blaine, Mercedes and Mike all start to discuss Mercedes’ thoughts for her music video but it quickly becomes clear that Kurt is extremely stressed about Burt’s fate. The four friends exchange positive words and then hold hands in a really sweet — and not as corny as it may seem — way.
Over in the doctors office Kurt is anxiously pacing back-and-forth while Kurt and Carol are nervously waiting to hear the news. (Side-Note: I know that Cory was currently getting treatment at the time and I fully support the fact that he had to miss these last two episodes, but come on Glee! Couldn’t you at least give us a reason as to why Finn is missing from the waiting room? He should obviously be worried about his step-dad’s condition and the fact that we weren’t even presented with an explanation is degrading to Finn’s character.)
The doctor enters the room and tells the family that Burt’s tumor is gone and he’s currently in remission — aka cancer free. The family is ecstatic and Burt exclaims to Kurt all of the things he’s looking forward to: “You getting married, grandbabies, having old-people sex with Carol! I’m just so happy I’m not going to miss it. (Side-Note: Just though you all should know that I have tears in my eyes.)
Kurt is so excited that Burt is healthy that he asks his father to come to the choir room because he wants to dedicate a song to him. “The last time I dedicated a song to you in this room, you were in the hospital, but today we’re celebrating life’s most treasured and wonderful gift: a second chance.” Kurt then sings a lovely cover of “You Are The Sunshine of My Life” complete with back up dancers and lots of “oohs” and “aahs” from the group
Blaine is patiently waiting backstage in the auditorium and Burt comes up to meet him. After a familiar hello, Blaine presents Burt with a little rainbow pin so he could show his support for gay marriage when he’s working in D.C. Burt smiles and automatically reveals that gay marriage is at the top of his agenda — even though it makes him somewhat unpopular with his other colleagues.
Blaine is thrilled to hear that and he tells Burt something wildly unexpected: “I am so glad that you feel that way because assuming that we legally can, I wanted to formally ask for your permission to ask Kurt to marry me. Kurt is my soul mate and I know that I’ve hurt him badly but I also know that if I want to get him back I have to do something bold.” (Side-Note: I knew this was coming but I still coughed on my gummy bears from excitement in this scene.)
Burt tells Blaine that he knows how much he loves Kurt and that he has been like family to him, but he cannot approve of this choice. “No you’re still kids. Did you learn anything from Finn and Rachel?” Blaine retorts that he and Kurt are completely different from Finn and Rachel. Burt sits him down and explains that getting married is a lot more serious than people make it out to be. Burt points out that since Blaine thinks that he are Kurt are a meant-to-be, true-love couple then he doesn’t need to rush anything. Burt explains, “When two people love each other, like you two do, everything works out.” (Side-Note: I’m so confused. On the one hand I think Kurt and Blaine is the greatest couple since peanut butter and jelly and I want to see them ride off on a horse into a magical sunset together but I really don’t want Blaine to rush in to this.)
NEXT: A NYADA Surprise and The Episode’s Best Moments!
Unexpected Kindness: Back in the NYADA halls of New York, Rachel runs into the two snarky gossiping gays we met earlier this season and they quickly confront her about her second Funny Girl call-back. They reveal that the two other girls up for the role of Fanny is two-time Tony Winner Sutton Foster and Meryl Streep’s daughter Mamie Gummer. (Side-Note: Goodness gracious I love Sutton Foster. Every time I get the chance to speak with her she gives me a smile that lasts for weeks a time.) The evil twosome also reminds Rachel that all extra curricular activities must be signed off and approved by all of Rachel’s NYADA teachers — and that includes the dance teacher from hell Miss Cassie July.
On a rainy afternoon Rachel is practicing the lines for her callback in an empty classroom in front of the mirror. Just as we were imagining Rachel taking the stage as a perfect Fanny Brice, Cassie enters the room and flings her favorite insult: “Well if it isn’t little Miss David Schwimmer.” Cassie tells Rachel that she heard all about her Funny Girl callback from Barbra Streisand herself and as it turn out, Rachel’s dance midterm is the exact same time as the audition. (Side-Note: Sheesh! What are the chances? Ahem, why yes those last five words were drenched in heavy sarcasm — how nice of you to notice!) In an act of mean-spirited kindness, Cassie changes Rachel’s midterm to the following morning at 6 AM and assigns Rachel “the most difficult ballet routine ever devised.”
It’s the morning of Rachel’s dance midterm and Cassie happily says she’s ready to watch Little Miss Schwimmer fail but when she opens the door to the classroom, Rachel sees a large group of students waiting for her. Rachel is confused but Cassie is all kinds of amazing and this is exactly what the said: “This is your midterm. This is NYADA we are the best of the best. To make no mistake we will crush you to get the role ourselves but we are also family we get through it together and we celebrate each other when there’s big news—and this is big news. You’ve danced your way through the fire all year and you’re still standing tall so we are going to get you through this midterm so we can kick some NYADA ass and your first big Broadway call-back!” (Side-Note: I’m smiling so big right now it’s kind of hurting my cheeks.)
The group of students burst into cheers of excitement for Rachel and hold up signs of encouragement for her big day. The music starts and Cassie leads the class in a festively fun dance number to “Uptight (Everything’s Alright).” The song ends and Rachel is all smiles and laughing with the group while Cassie walks out the door with a sweet — and slightly smug — smile on her face. (Side-Note: Sometimes I may get irritated with Glee, yell at my TV, and gossip with my friends about the characters’ dumb life choices — but it’s moments like this that made me fall in love with the show. And I’m so glad that I did.)
The Final Five: The next day Rachel walks in to see Cassie and she presents her with a very special thank you gift — Debbie Allen’s original cane from the movie Fame. Rachel thanks Cassie no just for the song but for pushing her so hard these past few months. Cassie smiles and says, “I saw something in you that first day and I thought to myself, ‘This one’s special, this one might make it.’ And that’s why I’m so relentless.” Rachel then asks about “the whole Brody thing” but Cassie quickly dismisses that fling saying that was all for his abs. Cassie tells her student that she is confident that she will win the role of Fanny Brice and gives her a warm embrace before walking out the door. (Side-Note: Wait! Don’t leave us Kate! We’ll miss you Miss July — even though you scared the crap out of us.)
Over in Lima, Blaine pulls Kurt aside into a corner of the McKinley hallway and tells his love that he has something he wants to ask. (Side-Note: Oh my! Calling all Klaine fans: Is this the same place where The Box Scene took place?! God I love that scene with a fiery passion and if any boy ever repeated Blaine heartfelt list of promises to me I’d marry him on the spot. True story.) Blaine works to gather up his courage and it’s clear that he’s trying to ask Kurt to marry him.
Unfortunately Blaine keeps tripping over his words and getting all adorably nervous. In the end, Blaine changes his mind and asks Kurt if he’ll stay to cheer them on for Regionals. Kurt happily reveals that he was already planning on it and he wouldn’t miss it for the world. The two handsome fellas then walk arm-in-arm down the hallway together. (Side-Note: Love. Them.) Over in a ridiculously bright auditorium Artie leads the New Directions in singing “For Once In My Life” and Mercedes, Mike, Kurt and Mr. Schue join in on the fun.
Most Heartwarming Moment: Learning that Burt is cancer free! Now please never ever scare us with Burt’s life ever again!
Most Heartbreaking Moment: Saying goodbye to Miss Cassandra July. She may have been a crazy backstabbing psycho, but at least we know she had Little Miss David Schwimmer’s best intentions at heart.
Quotables:
“And I mean like dirty cute.” — Blaine
“Any if you ever imply again that I’m an old hag, I’m going to tip you over.” — Artie’s Mom
“When two people love each other, like you two do, everything works out.” — Burt
What did you think of “Wonder-ful”? Do you think Blaine should propose to Kurt? Was Mercedes right to walk away from her record deal? Sing your thoughts in the comments below!
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Anne Hathaway may not be known as one of the most publicly political celebrities in Hollywood, but, when it comes to Saturday Night Live, the actress and politics go together about as well as Catwoman and black latex. Take Hathaway's first appearance on SNL — the actress oversaw an October 2008 episode that brought us the now-classic parody of Sarah Palin and Joe Biden's vice presidential debate. ("I believe marriage is meant to be a sacred institution between two unwilling teenagers.") And now, just over four years later, Hathaway has come full circle, hosting the sketch comedy show for the third time just days after President Obama was re-elected for a second term, inviting a stellar, if a bit bittersweet, Romney sign-off. But Saturday's show managed to shine the more it strayed away from politics. And the more it featured its host. Because Hathaway continued to prove to SNL audiences that Catwoman bares some sharp comedic claws.
And, sure enough, the beginning of SNL started with a farewell — what was likely the final sketch to feature Jason Sudeikis as the conceding presidential candidate, Mitt Romney. The sketch — which featured a disappointed, milk-swigging Romney who still showed Mormon-approved optimism — was well-written, if a bit oddly staged. (The silence-filled gaps between Taran Killam's amusing Tagg/Matt/Josh Romney pop-ups felt longer than the wait to hear Obama's Tuesday night victory speech.) Still, the scene was a nice departure from the ripped-from-the-TV-screen political sketches of yore, and bonus points for the series' take down of election night's real loser, when Josh Romney tells his father to come to the living room: "Donald Trump is doing a very amusing thing where he's racist."
Sudeikis again seemed to acknowledge his final months with SNL — the actor is leaving the show in January — during Hathaway's monologue, during which he talked about his "wild ride" on the show and what he's learned "after you've been here for eight seasons." But the Les Misérables star's voice eventually took center stage during the fifth musical monologue of the season. (For the record, there have only been seven new episodes — WWJRS? That is, What Will Jeremy Renner Sing?) Of course, this one made more sense than the rest — Hathaway's voice alone would be enough to invite awe, but the Les Mis-inspired tune (about the thrills of Sunday for the SNL cast) was more than chuckle-worthy, reminiscent of Steve Martin's memorable "Not Gonna Phone It In" monologue in 1991. (And Hathaway's Stefon impression? It. Had. Everything.) With the new cast, are the SNL glory days of the '90s back?
The series is certainly allowing its newbies to flex their comedy muscles more than previous featured players. New cast members Cecily Strong and Aidy Bryant headlined the first post-monologue sketch of the night as, respectively, a teen and her best friend-turned-third wheel. It was an amusing sketch that showcased Bryant's droll talents — and certainly hit home for any girl who ever attended high school — even if the spot seemed more appropriate for the back third of the show. (But, speaking of the '90s, did the sketch — and Hathaway's valley girl impression of the new bad girl in school — remind anyone of SNL's "Delta Delta Delta" days?)
But the next sketch, the pre-taped "Legend of Mokiki," was far from SNL convention. Featuring episode MVP Killam as a human experiment who becomes famous for doing a dance called "the sloppy swish" — and Hathaway as the poor soul who falls in love with him — the sketch was as random as it was obvious that it came out of a late-night, exhausted writing session. But even when shorts like these make little sense, it's impossible not to enjoy the glimpse we get into the deranged inter-workings of the writers' minds.
More audience-friendly was the following sketch, which proved Hathaway has another celebrity impression under her belt: Homeland's Emmy-winning Claire Danes. The actress' take on Carrie Matheson, complete with the character's patented ugly cry, was flawless — even simple phrases like "And do what?" were indistinguishable from her Showtime counterpart. But Hathaway wasn't the only one to score in the sketch — Bill Hader's Saul was as impeccable as the actor's Alan Alda, and Killam, once again, stole the scene with his Agent Brody, whose "mouth is so small, it's hard to hear the words."
Far less tasty was the lazy McDonald's sketch, featuring Strong and Bobby Moynihan as two delinquent employees dead-set on insulting all of their colleagues, and Hathaway's uptight boss. But Moynihan more than made up for the groan-worthy sketch with his Drunk Uncle, yet again the highlight of Weekend Update. ("If Nationwide is on my side, how come Obama is president? Jews-papers!") Unfortunately, the rest of Weekend Update wasn't nearly as funny — in fact, the writing proved to be just as progressive as Moynihan's uncle, who lamented in his day "You couldn't vote unless you had a cane, monocle, top hat, fancy!" Seth Meyers using the record number of women elected to office as an opportunity to make a joke about pantsuits? Really, Seth? Really?! And a joke about all women hating sports to boot? I say it again: Really?! Thank god for Moynihan and Hader, and Fred Armisen, who made up for the lackluster segment — which included a predictable Obama impression from Jay Pharaoh — with their gay couple from Maine, who are celebrating their newly established ability to wed by registering with L.L.Bean.
But SNL was quickly back in business with the brilliant Kate McKinnon as a cheerfully exhausted Ellen DeGeneres. The sketch was more or less an opportunity for the episode to showcase Hathaway's hysterical Katie Holmes impression, but McKinnon also inspired laughs as the controversy-adverse daytime host. ("It was a big week in politics, so I'm going to talk about eating some popcorn yesterday.") And Hathaway proved her physical comedy prowess with a unique sketch about the conception of Grant Wood's American Gothic painting, which, in SNL's world, really portrayed two goofy models who loved corn puppets.
SNL closed out the show with a "Happy Fun Ball"-esque sketch for "Flaritin," a medication for those who suffer "a made-up allergy" to gluten, cigarette smoke, yogurt, rice, meat deodorant, squirrel dander, Los Angeles, small penises, rap, and Italians for attention. But, strangely enough, any portion of the show that didn't include Hathaway — including musical guest Rihanna's bizarre performance of "Diamonds," which looked to be set in front of a karaoke music video — suffered without the host. She even managed to invite a laugh in her goodbye, telling the audience, "Thank you so much to Katie Holmes and Claire Danes." Would it be too much to call our Catwoman the cat's pajamas? (Yes. Yes it would.)
What did you think of Saturday's show? Did Hathaway's taste of Les Mis in the monologue enough to keep you wanting more?
[Image Credit: NBC]
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David Mitchell's novel Cloud Atlas consists of six stories set in various periods between 1850 and a time far into Earth's post-apocalyptic future. Each segment lives on its own the previous first person account picked up and read by a character in its successor creating connective tissue between each moment in time. The various stories remain intact for Tom Tykwer's (Run Lola Run) Lana Wachowski's and Andy Wachowski's (The Matrix) film adaptation which debuted at the Toronto International Film Festival. The massive change comes from the interweaving of the book's parts into one three-hour saga — a move that elevates the material and transforms Cloud Atlas in to a work of epic proportions.
Don't be turned off by the runtime — Cloud Atlas moves at lightning pace as it cuts back and forth between its various threads: an American notary sailing the Pacific; a budding musician tasked with transcribing the hummings of an accomplished 1930's composer; a '70s-era investigatory journalist who uncovers a nefarious plot tied to the local nuclear power plant; a book publisher in 2012 who goes on the run from gangsters only to be incarcerated in a nursing home; Sonmi~451 a clone in Neo Seoul who takes on the oppressive government that enslaves her; and a primitive human from the future who teams with one of the few remaining technologically-advanced Earthlings in order to survive. Dense but so was the unfamiliar world of The Matrix. Cloud Atlas has more moving parts than the Wachowskis' seminal sci-fi flick but with additional ambition to boot. Every second is a sight to behold.
The members of the directing trio are known for their visual prowess but Cloud Atlas is a movie about juxtaposition. The art of editing is normally a seamless one — unless someone is really into the craft the cutting of a film is rarely a post-viewing talking point — but Cloud Atlas turns the editor into one of the cast members an obvious player who ties the film together with brilliant cross-cutting and overlapping dialogue. Timothy Cavendish the elderly publisher could be musing on his need to escape and the film will wander to the events of Sonmi~451 or the tortured music apprentice Robert Frobisher also feeling the impulse to run. The details of each world seep into one another but the real joy comes from watching each carefully selected scene fall into place. You never feel lost in Cloud Atlas even when Tykwer and the Wachowskis have infused three action sequences — a gritty car chase in the '70s a kinetic chase through Neo Seoul and a foot race through the forests of future millennia — into one extended set piece. This is a unified film with distinct parts echoing the themes of human interconnectivity.
The biggest treat is watching Cloud Atlas' ensemble tackle the diverse array of characters sprinkled into the stories. No film in recent memory has afforded a cast this type of opportunity yet another form of juxtaposition that wows. Within a few seconds Tom Hanks will go from near-neanderthal to British gangster to wily 19th century doctor. Halle Berry Hugh Grant Jim Sturgess Jim Broadbent Ben Whishaw Hugo Weaving and Susan Sarandon play the same game taking on roles of different sexes races and the like. (Weaving as an evil nurse returning to his Priscilla Queen of the Desert cross-dressing roots is mind-blowing.) The cast's dedication to inhabiting their roles on every level helps us quickly understand the worlds. We know it's Halle Berry behind the fair skinned wife of the lunatic composer but she's never playing Halle Berry. Even when the actors are playing variations on themselves they're glowing with the film's overall epic feel. Jim Broadbent's wickedly funny modern segment a Tykwer creation that packs a particularly German sense of humor is on a smaller scale than the rest of the film but the actor never dials it down. Every story character and scene in Cloud Atlas commits to a style. That diversity keeps the swirling maelstrom of a movie in check.
Cloud Atlas poses big questions without losing track of its human element the characters at the heart of each story. A slower moment or two may have helped the Wachowskis' and Tykwer's film to hit a powerful emotional chord but the finished product still proves mainstream movies can ask questions while laying over explosive action scenes. This year there won't be a bigger movie in terms of scope in terms of ideas and in terms of heart than Cloud Atlas.
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Instead of following a ragtag team of brutes hired for a suicide mission to destroy an Earth-bound meteor Seeking a Friend for the End of the World plays out the apocalyptic "what if?" scenario from the everyman vantage point. Written and directed by Lorene Scafaria (Nick and Norah's Infinite Playlist) the film pairs average joe Dodge (Steve Carell) with wallflower Penny (Keira Knightley) for a journey across the east coast a hunt for Dodge's college sweetheart. Scafaria takes a character-first approach to her anti-blockbuster examining the end of the world with a pitch black sense of humor. But the road trip loses steam as it chugs along with the film's insistence to avoid Hollywood disaster tropes taking a toll on the entertainment value. Dodge and Penny are so normal they aren't that interesting to watch. In turn neither is Seeking a Friend.
Worse for Dodge than the whole "destruction of humanity" thing is the fact that he's facing it alone; his wife leaves him he has no real family and he hates nearly all of his friends. While everyone he knows is either hooking up or shooting up in hopes of going out on a high note Dodge buckles under the weight of an existential crisis that feels all too familiar. To his rescue is next-door neighbor Penny who insists the two hit the road together to go find Dodge's one-that-got-away. They don't have much of a choice as New York City is quickly overrun by Malatov cocktail-hurling riots.
When the catastrophe and societal chaos is seen through Dodge's eyes and Carell's complex interpretation of the straight man Scafaria hits all the marks. Watching Dodge tell his cleaning lady to go home because "What's the point?" is heartbreaking while his good friend's descent into frat boy madness for the same reasons nails mankind's vile tendencies. And through it all it's funny thanks to Carell's impeccable timing. When Dodge is eventually paired up with Penny the film meanders the two never unearthing what it is about each other that keeps them sticking together. The duo run into a kindly truck driver (who's hired an assassin to off him when he's unaware) a TGIFriday's-esque restaurant full of zany drugged up waiters and even one of Penny's ex-boyfriends whose locked down with automatic rifles and Ruffles chips in anticipation of the end. But Dodge and Penny's quest is mostly about the in-between moments the quitter grounded human reactions to the apocalypse. Even with great performers at the helm Seeking a Friend doesn't organically shape those moments so much as contrive them. In one scene Penny fondly recalls the wonders of listening to music on vinyl Dodge listening carefully and learning. It's a soft and low key discussion perfect juxtaposition against the big-scale problem at hand but when a twenty-something is explaining records to a guy nearing 50 it comes off as twee instead of truthful. The problem infiltrates most of Seeking a Friend's character moments.
Scafaria has an ear and eye for comedy but Seeking a Friend boldly reaches for something more. Sadly ambition doesn't translate to success a messy tonal mix that fail to make it all that engaging or emotional. Carell and Knightley serve the material as best they can but this is the end of the world an even that requires a little weight a little sensationalism and a little more than a casual road movie.
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What is an ensemble cast? How many actors constitute one? There aren’t any guidelines that determine what qualifies as a true ensemble, but if anyone can offer some insight it would be Woody Allen, who has been getting great groups of actors together for decades now. From Manhattan and Hannah and Her Sisters to Melinda and Melinda and You Will Meet A Tall Dark Stranger, he’s always had a keen eye for casting and the stars continue to line up to work with the iconic auteur.
With the home entertainment release of his latest, fore mentioned film at hand, I thought it’d be apt to honor some of the coolest ensemble casts ever assembled. Keep in mind: this isn’t a list of the best films featuring an ensemble cast. It’s about the best rosters of talent roped in for a single production.
True Romance
This under-appreciated Tony Scott action spectacle was polarizing to audiences because of its ultra-violent approach, particularly toward women. But Patricia Arquette proved herself to be one tough chick, able to take a beating a give it back in equal measure. Together with her beau-to-be Christian Slater, she embarks on an odyssey to free herself from pimp Gary Oldman and, later, his criminal overlord Christopher Walken, all while L.A. detectives Tom Sizemore and Chris Penn are hot on the trail of drugs and blood. With bonus appearances by Dennis Hopper, Val Kilmer, Brad Pitt, James Gandolfini, Michael Rapaport and more, True Romance is a twisted web of cameos and special roles filled by some of the coolest actors of the time.
The Thin Red Line
WWII films have a long history of stellar casts comprised of legions of screen legends. This 1998 genre entry continues that grand tradition with enough A-listers to make five separate movies. George Clooney, Sean Penn, Nick Nolte, Adrien Brody, Miranda Otto, John Cusack, John C. Reilly, Woody Harrelson, John Travolta, Nick Stahl, Elias Koteas and Jim Caviezel all appear in the prestigious picture at one point or another – a logistic achievement in and of itself.
Love Actually
This sweet rom-com gets me every time. Not just because of the cheerful dialogue and warm and fuzzy relationships, but also because of the charming cast of characters played by Hugh Grant, Emma Thompson, Alan Rickman, Laura Linney, Liam Neeson, Keira Knightley, Billy Bob Thornton, Martin Freeman, January Jones, Elisha Cuthbert, Rodrigo Santoro, Shannon Elizabeth, Andrew Lincoln, Denise Richards and the adorable Thomas Sangster. Together, there are around eight revolving, relatable romances in the film, but we wouldn’t have cared about any of them if not for the lovable cast.
Crash
In telling this sprawling tale about the intersecting lives of a handful of Angelenos, director Paul Haggis needed an international cast to represent the diverse population of the City of Angels. He got it with Don Cheadle, Sandra Bullock, Jennifer Esposito, Shaun Toub, Daniel Dae Kim, Matt Dillon, Loretta Devine, Brendan Fraser, Terrence Howard, Keith David, Ryan Phillippe, Michael Pena, Tony Danza and Thandie Newton. Though Dillon was the only actor recognized by the Academy at awards time, the triumph of the film belongs to its eclectic cast.
The Magnificent Seven
Akira Kurasawa’s epic Seven Samurai was practically begging for a Hollywood adaptation when it was released in 1954. By 1960, director John Sturges had made it a reality with a pack of screen idols including the dashing Yul Brynner, the inimitable Eli Wallach, the ultra-cool Steve McQueen, the bad-ass Charles Bronson, the slick Robert Vaughn, the cool James Coburn and the “newbie” Horst Buchholz. The septuplet of stars had a great deal of chemistry that made their on-screen antics all the more enjoyable to watch, and fifty years later their work on this classic film has become the stuff of movie mythology.
Oceans Twelve
The star power packed into these popular motion pictures is astonishing. With Hollywood heavyweights like George Clooney, Matt Damon and Brad Pitt leading an army of talent - young and old - including Don Cheadle, Scott Caan, Bernie Mac, Andy Garcia, Carl Reiner, Eddie Jemison, Elliot Gould, Casey Affleck and Julia Roberts, there's no shortage of charisma throughout the film. You may be wondering why I chose Oceans Twelve over the 2001 remake of the 1960 original; it's because this hit heist pic also features the likes of Catherine Zeta-Jones, Albert Finney, Robbie Coltrane, Jared Harris, Vincent Cassel and Bruce Willis in appearances big and small. Not too shabby for a sequel...
The Women
Forget the awful 2008 remake. I implore you to give the original a chance. It’s a virtual who’s who of top Hollywood talent of the era. The premise is simple by today’s standards, but in 1939 its empowering themes were ahead of its time. Some of best actresses to ever grace the silver screen, including Norma Shearer, Joan Crawford, Joan Fontaine, Rosalind Russell, Paulette Goddard, Lucile Watson and Marjorie Main delivered the message. All of the above are Oscar winners or nominees, making this cast of female performers one of the most celebrated of all time.
The Outsiders
I’m not sure if Francis Ford Coppola knew what he was onto when he picked his rag-tag group of actors for this kick-ass 1983 film. After all, most of the actors were relatively unknown and untested at the time (save for C. Thomas Howell, who had just starred in Steven Spielberg's E.T.), but that quickly changed in the years following its release. Patrick Swayze, Emilio Estevez, Matt Dillon, Ralph Macchio, Rob Lowe, Diane Lane and Tom Cruise all appeared in the acclaimed teen drama, leaving behind one hell of a legacy.